The space "in-between": the relationship order-chaos and the creativity of senior students of Architecture

The edge of chaos has been constantly viewed as a metaphor for the current state our world: a constant coexistence of order and disorder. [...] Several authors working within education and organizational environments have highlighted that creators must perform at the ‘edge of chaos’ in order to produce creative and adaptive solutions. [...] This paper aims to discuss the dichotomy between order and disorder in the creative environment (socio- physics aspects) of architecture students from the Universidade Federal do Rio Grande do Norte, Brazil. Particularly, this paper focuses on students who are working on their Final Graduation Work (FGW), because, unlike other tasks, this activity is completed away from the classroom, in a space 'in-between' – in-betweenwork and home spaces, in-between the collective and the individual, in-between order and chaos.

Epilogue

In Homemaking, Fiona Barnes and Catherine Wiley assert that “women write in order to negotiate the tensions between definitions of home as a material space and home as an ideal place” (xix). As the works discussed illustrate, the writing and rewriting of home is often a journey in itself, a way of making sense of personal and inherited histories. For the characters, home is steeped with contradiction and can be a site of great tension. In many of the texts, home operates as a place of oppression as well as subversion. The realities of the characters’ lives counter a view of home as a place of freedom and security, and it is the act of flight that underscores the connection between trauma, migration, and social norms. The characters’ embodied and ideological transgressions in response to social convention render them exiles in or outside their homelands. As a result, the characters embrace change and pursue adaptive solutions to preserve selfhood in the face of violence, illness, and exclusion. These forces propel the characters’ migration, but trauma and shame do not define the narratives; rather, the protagonists’ navigation of trauma, oftentimes through dissociation and flight, foregrounds the emotional work that underlies and often precedes emigration. The authors position the characters’ homelands as spaces of individual and collective trauma and situate migration as the force that facilitates the protagonists’ homecoming. The works showcase women responding to challenges to safety with moves toward autonomy and self-determination....